By William S McIntosh
From a grasp photographer who has photographed different recognized photographers, Joint Chiefs of employees for the armed prone, and the Aristocracy within the uk, this ebook presents a behind-the-scenes examine the paintings of 1 of the main acclaimed portrait photographers ever. Photographers keep on with McIntoshs footsteps, uncovering wonderful settings, unique consumers, and masterful procedure. They learn how to create environmental photos in difficult destinations, alter gentle to its top impression, and compose and pose consumers. With the pairing of educational textual content and greater than a hundred pix that span McIntoshs profession, this e-book deals a definitive examine the fashion, ideas, and inventive contributions of this grasp photographer.
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Extra info for Classic Portrait Photography: Techniques and Images from a Master Photographer (Masters Series (Buffalo, N.Y.))
Example text
This style of interior is just right for the rich, long tonal scale portrait I like to make. The lighting can make the subjects stand out from the background and look three-dimensional. (SUBJECT—Dianne Frantz and her daughters, Lindsey and Elissa; DATE— 1996; CAMERA—Mamiya RZ67; FILM—Kodak NPH, IS0 400; LENS—65mm) FACING PAGE—The 30 CLASSIC PORTRAIT PHOTOGRAPHY The posing and lighting of most studio and outdoor portraits have, from the beginning of photography to the present time, been closely tied to the Victorian portrait painters and photographers.
Perowne, United Kingdom Navy; DATE—2001; CAMERA—Mamiya RZ67; FILM—Fuji NPS, ISO 160; LENS—65mm) LEFT—Sir Frank Swettenham by John Singer Sargent. Andre by Franz Xaver Winterhalter. ABOVE—Edouard LEFT—This portrait was inspired by Edouard Andre, a portrait of a French army officer painted in 1857 by Franz Xaver Winterhalter. (SUBJECT—Lt. Col. 6, 210mm) inspiration for this portrait was The Chess Players by Thomas Eakins. This painting is in the Metropolitan Museum of Art. When I see a portrait painting I like in a museum, I buy a postcard or book of the artist’s work for future reference.
The sun on the beach was just right when this portrait was made. A strobe was not needed; the sun was just a little to the subject's left. 1 30 second at f-5-6. (SUBJECT—Michelle Lyons; DATE—1997; CAMERA—Mamiya RZ67; FILM—Fuji The exposure was / NPH, ISO 400; LENS—65mm) THE TWILIGHT PORTRAIT 57 FACING PAGE—I had visited the top of this hill at sunset and knew it would make a great background for the right subject. A friend recommended that I photograph this young man in his stunning band uniform.